JP3141380B2 - Music generator - Google Patents

Description

Description: BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a tone generator capable of assigning a plurality of sounds having different pitches to one voice.

[Prior Art] Conventionally, as a sound source of an electronic musical instrument, various ones such as an FM sound source, a PCM sound source, and a sound source of an overtone synthesis (or inverse Fourier transform) system have been used.

The PCM sound source is a sound source that synthesizes a tone signal using a pulse code modulation method. The FM sound source is a sound source that synthesizes a tone signal using a frequency modulation method. The overtone synthesis sound source is a sound source that synthesizes and outputs a plurality of musical tones having a specific frequency relationship corresponding to a given key code.

Each of these types of sound sources has advantages and disadvantages, and there are advantages and disadvantages depending on the timbre. In order to make use of the advantages of each system and compensate for the disadvantages, it has been conventionally performed to use a plurality of sound sources of each system in parallel regardless of different types or the same type to further enrich the tone variation.

[Problems to be Solved by the Invention] By the way, in a conventional electronic musical instrument, a musical tone having a pitch corresponding to a key code basically generated by an operation of a player (for example, a key pressed in a keyboard musical instrument) is generated. Are assigned to channels. That is, a channel of a sound source is normally assigned to one voice so that a predetermined number of musical tones are produced in unison having a single pitch (corresponding to a key code) including harmonics. For this reason, some players may feel lack of variation in tone color.

On the other hand, various electronic musical instruments such as electronic organs have been incorporated with various sound sources in order to pursue variations in timbre, even in old musical instruments. On the electronic organ player's side, when setting the tone,
There was a demand to create a tone that was close to the image of a pipe organ.

The present invention has been made in view of the above-described conventional problems, and has as its object to provide a tone generator that has more tone variations than before and can also perform tone settings that are close to the image of a pipe organ. .

In order to achieve the above object, a musical sound generating apparatus according to the present invention comprises a musical sound information generating means for generating musical sound information including pitch information, and a musical sound signal synthesized by using a pulse code modulation system having a plurality of sounding channels. A sound source means comprising a PCM sound source to perform a plurality of tone generation channels composed of a plurality of processing channels, and an FM sound source for synthesizing a tone signal using a frequency modulation method, and capable of simultaneously generating a plurality of tone signals;
Mode selecting means for selecting a second mode and a second mode, and tone generation allocating means for assigning tone information generated by the tone information generating means to a tone channel of the tone generator in accordance with the mode selected by the mode selecting means. When the second mode is selected by the mode selecting means,
(A) The same tone information is assigned to the sound channels of both the PCM sound source and the FM sound source. (B) For the FM sound source, the number of sound channels assigned to one tone information is determined by the mode selection means. And a plurality of tone channels are assigned to one piece of musical information, and the sound channels of the assigned PCM tone generator and FM tone generator are generated from the PCM tone generator. (D) a plurality of tone signals generated from the FM sound source have a specific frequency relationship corresponding to the pitch information, and (D) the plurality of assigned FM sound sources. The processing channels used to generate one tone signal without changing the number of processing channels included in one sound channel. The number of channels is reduced as compared with the case where the first mode is selected by the mode selection means, and the number of tone signals generated in one tone generation channel is reduced as compared with the case where the first mode is selected by the mode selection means. And (E) further comprising the same number of processing channels for each tone signal in a plurality of tone generation channels of the FM sound source assigned to the one tone information.

Further, the sounding assigning means may combine a low-frequency component of the tone signal with a sounding channel of the PCM sound source and synthesize a high-frequency component of the tone signal with a sounding channel of the FM sound source.

As the sound source, it is preferable to use a PCM sound source that synthesizes a tone signal using a pulse code modulation method and an FM sound source that synthesizes a tone signal using a frequency modulation method.

[Operation] According to the musical sound generating device having such a configuration, first, the musical sound information generating means generates musical sound information including a key code in accordance with the performance of the player. The tone assigning means assigns a tone in accordance with the key code of the musical tone information so as to set a parameter so that a predetermined number of tone channels of the sound source have a specific frequency relationship and sound the tone. The sound source has a plurality of sounding channels, and emits a musical tone at a designated frequency based on sounding assignment by the sounding assigning means.

Embodiment An embodiment of the present invention will be described below with reference to the drawings.

FIG. 1 is a block diagram showing a configuration of an electronic musical instrument according to one embodiment of the present invention.

In this figure, reference numeral 101 denotes a central processing unit (CPU) which manages and controls the operation of the entire electronic musical instrument, including assignment of sound sources, instruction for sound generation, and determination of timbre (setting of parameters).
Is a read-only memory (ROM) storing programs to be executed by the CPU 101 and initial values of various parameter data, and 103 is a random access memory (RAM) for setting various work memories, buffers, registers, flags, and the like. . The RAM 103 is a non-volatile memory provided with a backup battery 104 so that stored data is erased even when the power of the electronic musical instrument is turned off. The CPU 101, the ROM 102, and the RAM 103 are connected to a common bidirectional bus line 115.

Reference numeral 105 denotes a pedal keyboard (PK) of the electronic musical instrument, 106 denotes a lower keyboard (LK), and 107 denotes an upper keyboard (UK). These keys 105-
107 is connected to a bus line 115 via a peripheral interface 108. This allows the CPU 101 to detect on / off of a key on the keyboard.
An external device can be connected to the peripheral interface 108 by MIDI. Further, a display / setting switch 109 is connected to the peripheral interface 108. The display / setting switch 109 includes a liquid crystal display device for displaying various parameter data and the like, a setting switch for designing parameter data, and the like.

This electronic musical instrument has FM sound source 110 and PCM sound source 11 as sound sources.
1 is provided. The FM sound source 110 and the PCM sound source 111 are connected to a bus line 115. 112 is a waveform memory for storing waveform data input to the PCM sound source 111, 113 is an FM sound source 110 and
A sound system that generates a tone based on a tone signal output from the PCM tone generator 111, and 114 is a speaker.

The FM tone generator 110 of the electronic musical instrument of this embodiment has 16 sound channels. One sounding channel is composed of four operators combined by various algorithms.

FIG. 2 is a block diagram showing the basic structure of one operator used for the FM sound source of the electronic musical instrument of this embodiment. In this figure, an operator 201 has a phase generator 20
2, adder 203, basic waveform (sine waveform) memory 204, envelope generator 205, integrator 206, and integrator 20
7 is provided.

The phase generator 202 inputs a frequency number (F number) 211. The F number 211 is the output signal 216 of the operator 201.
Frequency (pitch). The phase generator 202 creates phase information based on the F number 211 and outputs it to the adder 203. The adder 203 adds the phase information and an external modulation input, and further adds feedback information. Using the result as an address, waveform data of a basic waveform (sine waveform) is read from the basic waveform memory 204 and output to the integrator 206.

On the other hand, the envelope generator 205 receives the envelope generator information 215 and outputs an envelope waveform to the integrator 206 based on the information. The integrator 206 applies an envelope to the basic waveform data, further accumulates output level (OL) data 214 that defines an output level, and generates and outputs an output signal 216 of the operator.

The output of the integrator 206 is also input to the integrator 207, where it is integrated with the feedback (FB) level data 213. The output of the integrator 207 is fed back to the adder 203 as feedback data. By feeding back the output signal, a more complicated waveform can be output.

FIG. 3 shows an example of an algorithm in the FM sound source of the electronic musical instrument of this embodiment. In this FM sound source, one channel is composed of four operators as described above, and it is possible to connect in a combination as shown in FIGS.

FIG. 3 (A) uses operators 301, 302, and 303 as carriers, and adds the outputs of these operators by an adder 305 and outputs the result. The operator 304 functions as a modulator of the carrier operator 303.

FIG. 3 (B) uses the operators 311, 312, and 313 as carriers, adds the outputs of these operators by an adder 315, and outputs the result. The operator 314 functions as a modulator of the carrier operators 311, 312, 313.

FIG. 3 (C) shows that the outputs of the carrier operators 321 and 323 are added by the adder 325 and output. The operator 322 functions as a modulator of the carrier operator 321. The operator 324 functions as a modulator of the carrier operator 323. Modulator operator 322 does not provide feedback to itself (feedback level is 0). The operator 324 provides feedback to himself.

FIG. 3 (D) uses the operator 331 as a carrier operator and the operators 332, 333, 334 as modulators. The output of the operators 333 and 334 is
External modulation input. The output of the operator 332 becomes the external modulation input of the carrier operator 331.

Electronic musical instruments that can generate various timbres by specifying the algorithms of such various FM sound sources are described in, for example,
64-41995.

FIG. 4 is a block diagram showing a basic structure of a PCM sound source of the electronic musical instrument of this embodiment. The PCM sound source has 12 channels, and each channel has a structure as shown in FIG.

In FIG. 4, one channel 401 of the PCM sound source is
It includes a phase generator 402, a waveform memory 403, an envelope generator 404, and an integrator 405.

The phase generator 402 inputs the F number 411 and the memory address information 412. The F number 411 defines the frequency (pitch, pitch) of the output signal 415. Memory address information 41
Reference numeral 2 denotes information including designation of a tone color or designation of a memory reading method. The phase generator 402 sequentially reads out the waveform data from the waveform memory 403 based on the input information and outputs the waveform data to the integrator 405.

On the other hand, the envelope generator 404 generates envelope data based on envelope generator information 413 input from the outside, and outputs it to the integrator 405.
The integrator 405 integrates the waveform data and the envelope data, further integrates output level (OL) data 414 for adjusting the level of the output signal, and generates and outputs an output signal 415.

The electronic musical instrument of this embodiment has a normal mode and a flute coupler mode.

In the normal mode, a tone of one voice is assigned to one channel of an FM tone generator according to a selected algorithm of a 4-operator configuration, or one channel of a PCM tone source is assigned to one channel of the FM tone source, and output signals from these tone sources are assigned. This is the output mode. In the normal mode, various parameters to be input to these sound sources are set, and the outputs of the FM sound source and the PCM sound source are mixed and output in a predetermined balance, so that various timbres can be generated. In the normal mode, a musical tone having a pitch corresponding to the key pressed by the player is generated.

On the other hand, in the flute coupler mode, which is a feature of the electronic musical instrument of this embodiment, the musical tone having the pitch corresponding to the key pressed by the player is output separately. The player can switch between the normal mode and the flute coupler mode as described later.

The configuration of the sound source in the normal mode and the flute coupler mode and the channel assignment of the sound source in these modes will be described in detail with reference to FIGS.

FIG. 5 shows a configuration example of a sound source of one voice in the normal mode. To generate one voice, F numbers 511, 512, 513, and 514 for each operator are input to one channel 501 of an FM sound source having a four-operator configuration, and the output of the channel 501 is input to an adder 503. PCM sound source 1 channel 50
The F number 515 is also input to 2, and the output of this channel 502 is input to the adder 503. The adder 503 mixes the output signals from these sound sources with a predetermined balance, and generates and outputs an output signal 516.

FIG. 6 shows a configuration example of a sound source in the flute coupler mode. In the flute coupler mode, one voice is composed of eight foot sounds. The two low-pitched foot sounds are generated using two channels of the PCM sound source, and the other six foot sounds are generated using three channels of the FM sound source. The name "foot sound" is a name conscious of the pipe organ. That is, the flute in the flute coupler mode indicates the length of a flute (a general name of a pipe that emits a musical tone by a jet lead) used in a pipe organ or the like. And "feet"
Is the length of the flute.

In FIG. 6, reference numerals 601 and 602 denote two channels of the PCM sound source on the low frequency side. Reference numerals 603, 604, and 605 denote three channels of the FM sound source. Since one channel of the FM sound source is composed of four operators, the four operators are divided into two here, and two foot sounds are generated on one channel. An adder 606 adds and outputs the tone signals output from the channels of each sound source. The F-number ratio between each series is 1 for the 16-foot series.
1: 2: 3: 4: 6: 8: 10: 16. This F number ratio is shown at the bottom of each foot sound series in FIG. In the flute coupler mode of the electronic musical instrument of this embodiment, the frequency of the channel of each sound source is set so as to have such a frequency relationship.
(Frequency) number is given. In the FM sound source, the F number of the carrier operator is basically set according to the above ratio. The F number of the modulator operator is basically equal to or an integer multiple of the F number of the carrier operator. Here, the carrier versus modulator F
The number ratio was 1: 1.

16 feet (in the figure, "feet" is abbreviated as "'"), 8 feet, 5 1/3 feet, 4 feet, 2 2/3 feet, 2 The feet, 1 3/5 feet, and 1 foot indicate the length (feet) that defines the frequency of each foot sound.

FIG. 7A is a conceptual diagram showing channel assignment in the normal mode of the electronic musical instrument of this embodiment. In the normal mode, 16 FM sound sources are provided.
Sixteen blocks 701 to 716 indicate these channels.
The PCM sound source has 12 channels. Twelve blocks 721 to 732 indicate each channel of the PCM sound source. In the normal mode, by the player's operation,
Four types of timbres can be selected: combination voice, orchestra voice, percussive voice, and lead voice. This tone can be selected separately for the upper keyboard (UK) and the lower keyboard (LK). The musical tones of the respective timbres can be simultaneously generated by the following numbers.

Combination voice: FM4 sound Orchestral voice: FM + PCM4 sound Percussive voice: FM + PCM7 sound Lead voice: FM + PCM1 sound Therefore, channel assignment for each tone and sound source is 7th.
It is as shown in FIG. That is, the four tones of the combination voice are assigned to the four channels 701 to 704. The four tones of the orchestral voice are assigned to four channels of FM sound source channels 705 to 708 and four channels of PCM sound source channels 721 to 724. The seven percussive voice tones are assigned to seven channels 709 to 715 of the FM sound source and seven channels 725 to 731 of the PCM sound source. The tone color of the lead voice is assigned to the channel 716 of the FM sound source and the channel 732 of the PCM sound source.

In the normal mode, the tone of each tone is assigned to each channel of the sound source as described above.

FIG. 7B is a conceptual diagram showing channel assignment in the flute coupler mode of the electronic musical instrument of this embodiment. In the flute coupler mode, one voice is assigned two channels of the PCM sound source and three channels of the FM sound source as described above. That is, for example, when a player presses one key of the keyboard, eight foot sounds having a frequency relationship as described in FIG.
Sound is generated from two channels of the sound source and three channels of the FM sound source.

The number 741 in FIG. 7 (B) is FM assigned to one voice
3 shows three channels 701 to 703 of a sound source. These three channels are, as shown, channel 701 is 51
/ 3 feet and 4 feet, channel 702 is assigned to emit foot sounds corresponding to 2 2/3 feet and 2 feet, and channel 703 to 13/5 feet and 1 foot.

In the PCM sound source, the two channels indicated by number 751
Channels 721 and 722 are assigned, with channel 721 emitting 16 feet and channel 722 emitting 8 feet.

Similarly, groups 742, 743, 744, and 745 of three channels of the FM sound source are set to generate one voice. Each three-channel group is similarly assigned to produce six foot sounds. Channel 716 is not used. Similarly, the PCM sound source is divided into groups 752, 753, 754, and 755 each having two channels, and each of the two channels is assigned to generate two foot sounds. Channels 731 and 732 are not used.

Apparently, in the flute coupler mode, it appears that there are five sounding channels. These five channels are called pseudo channels.

FIG. 8 is an external view of a tone selection switch provided on the panel of the electronic musical instrument of this embodiment.

In this figure, reference numeral 801 denotes a switch for setting the tone color of the combination voice to the organ 1 specifically. Similarly, switches 802, 803, and 804 are switches for setting the tone color of the combination voice to Organ 2, Organ 3, and Organ 4 specifically. LED 805 for tone selection switch 801
Is provided, and when organ 1 is selected,
The LED 805 is turned on, and turned off when the organ 1 is not selected. Each of the tone color selection switches described below is provided with an LED similar to the LED 805, and the selected / non-selected state of each tone color is displayed by turning on / off.

Reference numerals 811 to 814 denote switches for specifically selecting a tone color of an orchestra voice related to the upper keyboard. 811 is a string 1 switch, 812 is a string 2 switch, 813 is a brass 1 switch, and 814 is a switch for selecting the brass 2 switch.

Reference numerals 821 to 824 are switches for specifically selecting a percussive voice tone of the upper keyboard. 821 is the piano 1, 8
22 is a piano 2, 823 is an electric piano, and 824 is a switch for selecting a synthesizer tone.

Reference numerals 831 to 834 denote switches for specifically selecting the tone color of the combination voice related to the lower keyboard. 831 is an organ 1, 832 is an organ 2, 833 is an organ 3 and 834 is an organ 4 switch.

Reference numerals 841 to 844 denote switches for specifically selecting the tone color of the orchestra voice related to the lower keyboard. 841 is a switch for selecting strings 1, 842 is for strings 2, 843 is wood, and 844 is a switch for selecting vocals.

Reference numerals 851 to 854 denote switches for selecting the tone of a percussive voice for the lower keyboard. 851 is a piano 1, 852 is a piano 2, 853 is a guitar, and 854 is a switch for selecting a vibe.

Reference numerals 861 to 864 denote switches for specifically selecting the tone of the lead voice for the upper keyboard and the lower keyboard. 861 is a flute, 862 is a synthesizer 1, 863 is a synthesizer 2, and 864 is a switch for selecting a tone of a saxophone.

Reference numeral 806 denotes an inscription “COMBI” indicating that the lower switches 801 to 804 and 831 to 834 are switches for selecting the tone color of the combination voice. Reference numeral 815 denotes an “ORCHES” mark indicating that the switches 811 to 814 and 841 to 844 below the switch are switches for selecting the tone of the orchestra voice. 825 is the switch 821 below it
824824 and 851〜854 are engraved with “PERC” indicating that they are switches for selecting a percussive voice tone.

807 is a switch 801-804, 811-814 and 82 on its right side
1 to 824 are stamps of "UPPER" indicating that they are tone selection switches for the upper keyboard. 835 is the right switch
831 to 834, 841 to 844, and 851 to 854 are engraved "LOWER" indicating that they are tone color selection switches for the lower keyboard. Reference numeral 865 is an engraved “LEAD” indicating that the lower switches 861 to 864 are switches for selecting the tone color of the lead voice. Reference numeral 866 is an engraved “U / L” indicating that the switches 861 to 864 on the right side are timbre selection switches for the upper keyboard and the lower keyboard.

By operating these tone selection switches as described above, the tone colors of the combination voice, orchestra voice, percussive voice, and lead voice for the upper keyboard or the lower keyboard can be selected.

Reference numeral 871 denotes a switch for selecting whether or not the upper keyboard should be sounded with the tone of the combination voice previously selected by the switches 801 to 804. When this switch 871 is turned on, the LED 879 lights up. When the upper keyboard is depressed in this state, a tone is generated in a preset combination voice tone. When switch 871 is pressed again, LED87
9 goes out, and even if you press the upper keyboard, no sound is produced with the tone of the combination voice.

Reference numeral 872 denotes a switch for selecting whether or not to produce a sound with the tone color of the orchestra voice previously selected by the switches 811 to 814 for the upper keyboard. Similarly, reference numeral 873 denotes a switch for selecting whether or not to generate a tone of a preset percussive voice of the upper keyboard. A switch 874 is used to select whether or not to generate a tone of the preselected lead voice of the upper keyboard.

A switch 875 is used to select whether or not to generate a tone of the combination voice of the lower keyboard selected in advance. Reference numeral 876 denotes a switch for selecting whether or not to produce a tone of the orchestra voice of the lower keyboard selected in advance. Reference numeral 877 denotes a switch for selecting whether or not to generate a percussive voice tone of a lower keyboard selected in advance. Reference numeral 878 denotes a switch for selecting whether or not to generate a tone of a preselected lead voice of the lower keyboard in tone.

By turning on / off the selection switches 871 to 878, it is possible to easily select whether or not to generate a sound with a desired tone even during performance.

Reference numeral 881 denotes a voice edit switch for editing finer parameters for each tone selection in the normal mode. When the voice edit switch 881 is turned on, the LED 882 is turned on to enter the voice edit mode, so that the tone parameters can be edited. By pressing the voice edit switch 881 again, the mode returns from the voice edit mode to the normal mode, and the LED 882 is turned off.

A switch 883 switches between a normal mode and a flute coupler mode. When the switch 883 is turned on, the LED 884 is turned on to enter the flute coupler mode. When the switch 883 is pressed again, the LED 884 turns off and returns to the normal mode again.

Next, a display example in the normal mode will be described with reference to FIG. The same numbering in FIGS. 9 to 12 indicates the same thing.

The electronic musical instrument of this embodiment has, on a panel, a display section and a switch section shown in FIG. 9 in addition to the tone color selection switch group shown in FIG.

In FIG. 9, a display unit and a switch unit 900 include a liquid crystal display device 901, row designation switches 911 to 913 provided on the left side of the liquid crystal display device 901, and a liquid crystal display device 90.
Column designation switches 921 to 928, 931 to 938 provided below 1
Is provided.

In this figure, in the normal mode, the liquid crystal display 901
A display 902 indicating that Organ 1 and Organ 2 have been selected as the combination voice tone, a display 903 indicating that Strings 1 and Brass 2 have been selected as the orchestral voice tone, and a piano 1 and a percussive voice tone. A display 904 indicating that a vibe has been selected, and a display 905 indicating that a synthesizer and vocal have been selected as tones of the lead voice,
Each is displayed. In addition, other rhythm, arpeggio, and bass selection information are numbered 906-9.
It is displayed as 09.

In normal mode, switches 911
~ 913,921 ~ 928,931 ~ 938 do not work.

When the flute coupler mode switch 883 in FIG. 8 is depressed in the normal mode, the electronic musical instrument enters the flute coupler play mode. The flute coupler playing mode is a mode in which one voice (a unit generated by pressing one keyboard key) is composed of eight sounds having a predetermined frequency relationship as described with reference to FIG.

FIG. 10 shows a display example of the liquid crystal display device 901 in the flute coupler playing mode. In this figure, 914 is a display indicating that the mode is the flute coupler mode, and 942 is an upper keyboard U
A display indicating that the sound speed selected by K is “jazz organ 1”, and a display 943 indicates that “pop organ 5” is selected as the tone color of the lower keyboard LK.

When the keyboard key of the upper keyboard UK is depressed in this state, eight foot sounds having a predetermined frequency relationship as described with reference to FIG. 6 are generated in the tone of "jazz organ 1". When the keyboard key of the lower keyboard LK is pressed, eight foot sounds having a predetermined frequency relationship as described in FIG.
It is pronounced with the tone of "Pop Organ 5".

The tone colors of the upper keyboard UK and the lower keyboard LK can be changed by a predetermined operation. That is, immediately after entering this flute coupler play mode or by selecting the line
After pressing any one of the switches 912 and 913, the timbre can be switched by pressing the column selection switches 921 to 928 and 931 to 938. Switch 921 on the left side of the column selection switch
Tones of the upper keyboard can be switched by 924,931 to 934, and the tone of the lower keyboard can be switched by switches 925 to 928,935 to 938 on the right side of the row selection switch. By operating such a switch, it is possible to select a preset tone such as a jazz organ or a pop organ, as well as a tone set by a user. The tone set by the user is "USER1" ~
You can select 16 types with the display name of "USER16".

Line selection switch from the state of the flute coupler play mode
Pressing 911 switches to page mode. The page mode is a mode in which a new function is added to the column selection switches 926 to 928 and 936 to 938. Reference numeral 944 denotes "PAGE" indicating that the functions of the column selection switches 926 to 928 and 936 to 938 in the page mode are displayed below.

When the column selection switch 926 or 936 is depressed after pressing the row selection switch 911 to set the page mode, the electronic musical instrument is in the flute coupler play mode (the state shown in FIG. 10).
Return to 945 states that such a function is assigned to the row select switch 911 and the column select switch 926 or 936, so that the row of the row select switch 911 and the column of the column select switch 926 or 936 This is the "NORMAL" character displayed at the intersection.

Similarly, in the page mode, the column selection switch 927
When the button is pressed, the mode shifts to the flute coupler edit mode for the upper keyboard (the state of FIG. 11), and when the column selection switch 937 is pressed, the mode shifts to the flute coupler edit mode for the lower keyboard. 946 and 947 indicate that such a function is assigned to the row selection switch 911 and the column selection switch 927 and 937 at the position where the row of the row selection switch 911 and the column of the column selection switch 927 and 937 intersect. These are the letters "UEDIT" and "LEDIT" displayed.

Similarly, in the page mode, the column selection switch 928
When the key is pressed, the mode shifts to a flute coupler save mode relating to the upper keyboard (the state in FIG. 12, hereinafter simply referred to as save mode), and when the column selection switch 938 is pressed, the mode shifts to a save mode relating to the lower keyboard. 948 and 949 show that such a function is assigned to the row selection switch 911 and the column selection switch 928 and 938, at the position where the row of the row selection switch 911 and the column of the column selection switch 928 and 938 intersect. These are the letters "USAVE" and "LSAVE" displayed.

Next, the display in the flute coupler edit mode will be described with reference to FIG. The flute coupler edit mode is a mode for editing the level values of the eight foot sounds constituting one voice in the flute coupler mode.

This figure is a display example of the flute coupler edit mode for the upper keyboard. Since the lower keyboard is similarly displayed, only the upper keyboard is shown here. In this figure, 950
Is a display of "UPPER EDIT" indicating that the current display is the flute coupler edit mode for the upper keyboard, and 951 is a bar graph showing a level value of a 16-foot foot sound. Similarly, 952 to 958 are bar graphs representing foot sound levels of 8 feet, 5 1/3 feet, 4 feet, 22/3 feet, 2 feet, 13 5 feet, and 1 foot, respectively.

In this state, by operating the row selection switches 921 to 928 and 931 to 938, the level value of the foot sound displayed in the corresponding row can be increased / decreased. For example, pressing switch 921 can increase the level value of a 16-foot foot sound. Similarly, the level values of other foot sounds can be increased by pressing switches 922 to 928. As the level value increases, the height of the corresponding bar graph also increases. Pressing switch 931 can reduce the level value of the 16-foot foot sound. Similarly, the level values of other foot sounds can be reduced by pressing the switches 932 to 938. As the level value decreases, the height of the corresponding bar graph decreases.

The setting of the tone color parameters by the up / down switch is described in, for example, Japanese Utility Model Laid-Open No. 61-92996 and Japanese Patent Laid-Open No.
No. 77995.

When the row selection switch 911 is pressed, the page mode is set, and the column selection switches 926 to 92 are set as described in FIG.
Each mode can be shifted by pressing 8,936 to 938. To return from the page mode to the flute coupler editing mode again, the line selection switch 912 or 913 is pressed.

Next, the display in the save mode will be described with reference to FIG. The save mode is a mode in which the level value of each foot sound in the flute coupler mode edited by the user is saved in a predetermined memory area.

This figure is a display example of the save mode for the upper keyboard. Since the lower keyboard is similarly displayed, only the upper keyboard is shown here. In this figure, reference numeral 961 denotes “UPPER” indicating that the current display is a mode relating to the upper keyboard, and reference numeral 962 denotes “SAVE TO USER CO.” Indicating that the current display is a save mode for saving data edited by the user.
UPLER ".

963 is a display of 16 blocks corresponding to 16 memory areas for saving data. The memory area block display 963 has 16 column selection switches 921 to 928,931
~ 938 are supported. Therefore, the column selection switch 921
When one of 928, 9311938 is pressed, the data currently being edited (data in the buffer area) is saved in the corresponding memory area. For example, when the switch 921 is pressed, the edited data is saved in the first memory area, and when the switch 932 is pressed, the edited data is saved in the tenth memory area.

The saved data can be selected by the display names "USER1" to "USER16" in the flute coupler performance mode in FIG.

When the row selection switch 911 is pressed, the page mode is set. As described with reference to FIG.
The mode can be shifted to each mode by pressing 9928,936〜938. To return from the page mode to the save mode again, the row selection switch 912 or 913 is pressed.

FIG. 13 is a diagram showing a ROM (1st embodiment) in the electronic musical instrument of this embodiment.
The memory map of figure number 102) is shown. ROM102 contains CPU10
1 stores a program to be executed, preset values of tone parameter data, and the like.

FIG. 14 is a diagram showing a RAM (FIG. 1) in the electronic musical instrument of this embodiment.
The memory map of figure number 103) is shown. The RAM 103 has a working area, an area for storing level data of each foot sound in the flute coupler mode, flags, and the like.

Hereinafter, each data and data area stored in the RAM of FIG. 14 will be described.

(1) UKFCPLBUF An 8-byte area that stores the level data of each foot sound in the upper keyboard flute coupler mode. This 8-byte data area is 16 feet, 8 feet, 5 1/3 feet, 4 feet, 2 2/3 feet, 2 feet, 1 3/5 feet, and 1 foot as shown in the figure on the right. 1-byte area for storing sound level data UKLV1 to U
Consists of KLV8. Based on the level data stored in the buffer, the upper keyboard is sounded in the flute coupler mode. The level data stored in each of the areas UKLV1 to UKLV8 can be changed (edited) by the flute coupler editing mode described in FIG.

(2) LKFCPLBUF This is an 8-byte area that stores the level data of each foot sound in the flute coupler mode of the lower keyboard. It consists of LKLV1 to LKLV8 similar to UKLV1 to UKLV8 of the above UKFCPLBUF. Based on the level data stored in the buffer, the lower keyboard is sounded in the flute coupler mode. In the flute coupler edit mode, the level data stored in each of the areas LKLV1 to LKLV8 of the buffer LKFCPLBUF can be changed (edited).

(3) UKFCPLVOICE1 An 8-byte user-edited data storage area for storing and holding data edited by the user with the level data of each foot sound in the flute coupler mode of the upper keyboard. It consists of UKLV1 to UKLV8 in the same way as the above UKFCPLBUF. Fig. 12, 1
This corresponds to the first of the six edit data storage areas 963. That is, when the switch 921 is pressed in the save mode shown in FIG. 12, the level data edited on the buffer UKFCPLBUF is moved to the user edit data storage area UKFCPLVOICE1. Since the RAM 103 is nonvolatile as described above, the user edit data storage area UK
The level data stored and held in FCPLVOICE1 is not deleted even when the power of the electronic musical instrument is turned off. In the flute coupler play mode shown in FIG. 10, when the user performs a selection operation with the display name "USER1", the user edit data storage area UKFC
The level data stored in PLVOICE1 is stored in buffer UK.
It is copied to FCPLBUF and can be pronounced with this tone.

(4) UKFCPLVOICE2 to 16 This is an 8-byte user-edited data storage area for storing and holding data edited by the user, similar to UKFCPLVOICE1 described above. UKFCPLVOICE1 is the first storage area, whereas UKFCPLVOICE2 to 16 are the second to sixteenth storage areas, respectively.

(5) LKFCPLVOICE1 to 16 This is an 8-byte user-edited data storage area for storing and holding data edited by the user, similar to the above-mentioned UKFCPLVOICE1. UKFCPLVOICE1 is a data storage area for the upper keyboard, while LKFCPLVOICE1 to 16 are data storage areas for the 16 lower keys.

(6) UKCHFLG1 As described in FIG. 7 (B), in the flute coupler mode, one pseudo channel is configured by using three channels of the FM sound source and two channels of the PCM sound source, and one voice is provided by the pseudo channel. Is pronounced. The area for storing the key on / off information and the key code related to the pseudo channel is UKCHFLG1. UKCHFLG1 is information on the first pseudo channel of the upper keyboard (the first to third channels of the FM sound source and the first and second channels of the PCM sound source and numbered 741 and 751 in FIG. 7B). As shown in the right figure, the most significant bit (MSB) indicates "1" for key-on, and "0" indicates key-off. The remaining 7 bits store the key code.

(7) UKCHFLG2 to 5 Similar to UKCHFLG1, the second in flute coupler mode
The fifth pseudo channel (numbered 742 to 7 in FIG. 7 (B))
45, 752 to 755) for storing key-on / off information and a key code KC.

(8) LKCHFLG1-5 Similar to UKCHFLG1, this area stores key-on / off information and a key code related to a pseudo channel in the flute coupler mode. UKCHFLG1 stores information about the upper keyboard, while LKCHFLG2 stores information about the lower keyboard.

(9) FCPL Flute coupler mode flag. “1” indicates the flute coupler mode, and “0” indicates the normal mode.

(10) NORMAL Flute coupler play mode flag. 10th with “1”
The screen shown in the figure shows the flute coupler play mode, and "0" indicates that it is not.

(11) PAGE Page mode flag. “0” indicates page mode, and “0” indicates not. The page mode is a mode to which a transition is made by pressing the row selection switch 911 in each of the flute coupler modes shown in FIGS. In page mode, switch 926
The functions of ~ 928,936-938 are changed as described above.

(12) EDIT Flute coupler edit mode flag. 11th with “1”
As shown in the figure, the screen is in the flute coupler edit mode, and "0" indicates that it is not.

(13) SAVE This is a save mode flag. “1” indicates the screen save mode as shown in FIG. 12, and “0” indicates not.

 Next, the operation of the electronic musical instrument of this embodiment will be described.

FIG. 15 is a flowchart of a main routine of this embodiment.

When the electronic musical instrument starts processing, first, in step S1, various flags or registers are initialized. Next, a key switch scan is performed in step S2. The key switch scan detects on / off of a keyboard key. After performing the pronunciation assignment process in step S3,
The display / setting process is performed in step S4, and the process returns to step S2.

In the sounding assignment process, a sounding channel is assigned based on turning on a keyboard key, and a key-off process of a corresponding channel is performed according to key-off. The display / setting process is a process for setting various modes and switching a display screen.

Next, the display / setting processing routine of step S4 in FIG. 15 will be described with reference to the flowchart in FIG.

In the display / setting processing routine, first, mode processing (FIG. 17) is performed in step S11. In step S12, it is determined whether or not the mode is the flute coupler mode. If the mode is the flute coupler mode, the process branches to step S17. If not (the normal mode), the process proceeds to step S13. It is determined in step S13 whether or not the mode is the voice edit mode. If the mode is the voice edit mode, the flow branches to step S16 to perform the tone color editing process, and then returns.

If not in voice edit mode in step S13,
At step S14, a tone color selection switch (FIG. 8) process is performed. At step S15, a tone color display process is performed to display a screen as shown in FIG. 9, and then the process returns. If the mode is the flute coupler mode in step S12, a flute coupler setting process is performed in step S17, and the process returns.

The mode processing routine of step S11 in FIG. 16 will be described in detail with reference to FIG.

In the mode processing routine, it is determined in step S21 whether there is an ON event of a panel switch. If not, the process returns. If there is, the process proceeds to step S22. In step S22, it is determined whether or not the flute coupler mode is set. If not, it is determined in step S23 whether or not the flute coupler switch 883 is turned on. If the flute coupler switch is ON, "1" is set to the flute coupler mode flag FCPL and the flute coupler performance mode flag NORMAL in step S24, and the routine returns. If the flute coupler mode switch is not on in step S23, the process returns.

If it is the flute coupler mode in step S22,
The process branches to step S25 to determine which switch has been turned on.

If the switch turned on in step S25 is a flute coupler switch, this means that the mode is returned from the flute coupler mode to the normal mode, so the flags FCPL, NORMAL, EDI used in the flute coupler mode in step S26
T, SAVE, PAGE are all cleared to zero and return.

If the switch turned on in step S25 is the first row selection switch (switch 911 in FIGS. 10 to 12), it means that the mode is to shift to the page mode, so that "1" is set to the page mode flag PAGE in step S27. And the flag NORM
AL, EDIT, SAVE are cleared to zero and return.

The switch that is in the page mode and turned on in step S25 is the sixth column selection switch (switch 92 in FIGS. 10 to 12).
If it is 6,936), it means that the mode is to shift to the flute coupler play mode, so in step S28, the flute coupler play mode flag NORMAL is set to "1", the flags PAGE, EDIT, SAVE are cleared to zero, and the routine returns. .

The switch which is in the page mode and turned on in step S25 is the seventh column selection switch (switch 92 in FIGS. 10 to 12).
7,937), which means that the mode is to shift to the flute coupler edit mode. In step S29, “1” is set to the flute coupler edit mode flag EDIT, and the flag is set.
Clear NROMAL, SAVE, PAGE to zero and return.

The switch which is in the page mode and turned on in step S25 is the eighth column selection switch (the switches 928,
If it is 938), it means that the mode is shifted to the save mode, so that the save mode flag SAVE is set to "1" in step S30, the flags NORMAL, EDIT, PAGE are cleared to zero, and the routine returns.

If none of the above applies in step S25, the process returns.

Next, the flute coupler setting processing routine (step S17 in FIG. 16) will be described in detail with reference to FIG.

In the flute coupler setting processing routine, it is determined in a step S41 whether or not a flute coupler performance mode is set.
If the mode is the flute coupler play mode, step S42
Displays the screen of the flute coupler performance mode as shown in FIG. 10, and determines whether or not the page mode is set in step S43. If not in the page mode, a flute coupler timbre selection process is performed in step S44, and the process returns.

The flute coupler timbre selection process is a process of selecting a timbre on the screen shown in FIG. That is, the selected flute coupler timbre is transferred to the buffer, and at the same time, a predetermined timbre parameter is transferred to each sound source channel. Also PCM
Specify the waveform, specify the parameters to be given to the envelope generator, specify the ratio of the frequency of the carrier of the FM sound source to the modulator. If the page mode is set in step S43, the process returns.

If it is not in the flute coupler playing mode in step S41, it is determined in step S45 whether or not it is in the flute coupler editing mode. If the mode is the flute coupler edit mode, a screen of the flute coupler edit mode as shown in FIG. 11 is displayed in step S46, and it is determined whether or not the page mode is set in step S47.
8 sets the level of the foot sound of 16 feet.
Further, in steps S49 to S55, a level setting process for each foot sound from 8 feet to 1 foot is performed, and the process returns.

If the mode is not the flute coupler editing mode in step S45, it is determined in step S56 whether or not the mode is the save mode. If the mode is the save mode, the save mode screen as shown in FIG. 12 is displayed in step S57, and the data of the corresponding buffer (UKFCPLBUF for the upper keyboard, LKFCPLBUF for the lower keyboard) is designated in step S58. Memory area (U
Store to KFCPLVOICE1-16, LKFCPLVOICE1-16) and return.

With reference to FIG. 19, the sound generation assignment processing routine (step S3 in FIG. 15) will be described.

In the sounding assignment processing routine, UK (upper keyboard) processing is performed in step S61, LK (lower keyboard) processing is performed in step S62, PK (pedal keyboard) processing is performed in step S63, and the process returns.

The UK processing routine (step S61 in FIG. 19) will be described with reference to FIG.

In the UK processing routine, in a step S71, it is determined whether or not there is a key-on event of the upper keyboard. If there is a key-on event, a key-on process is performed in step S72, and the process returns. If it is not a key-on event in step S71, it is determined in step S73 whether or not it is a key-off event. If the event is a key-off event, the process returns after performing a key-off process in step S74. If it is not a key-off event in step S73, the process returns as it is.

Next, referring to FIG. 21, a UK key-on processing routine (FIG.
Step S72 in FIG. 20 will be described.

In the UK key-on processing routine, it is determined in a step S81 whether or not the flute coupler mode is set. If not in the flute coupler mode, it is determined in step S82 whether or not the combination voice switch 871 of the upper keyboard is turned on. If the switch is turned on, it means that the tone is to be emitted in the tone of the combination voice. Therefore, in step S83, a sounding channel for the combination voice of the upper keyboard is assigned, and the process proceeds to step S84. When the combination voice switch of the upper keyboard is not turned on in step S82, the process directly proceeds to step S84.

Orchestra voice switch 8 on the upper keyboard in step S84
It is determined whether or not 72 is turned on. If it is turned on, it means that it will sound in the tone color of the orchestra voice. Therefore, in step S85, a sounding channel for the orchestra voice of the upper keyboard is allocated, and the flow proceeds to step S86. If the orchestra voice switch of the upper keyboard is not turned on in step S84, the process proceeds to step S86.

Step S86: Upper keyboard percussive voice switch 8
It is determined whether 73 is turned on. If it is turned on, it means that it will sound with the percussive voice tone, so in step S87 a sound channel for the percussive voice of the upper keyboard is assigned, and the flow proceeds to step S88. If it is determined in step S86 that the percussive switch of the upper keyboard has not been turned on, the process proceeds directly to step S88.

In a step S88, it is determined whether or not the lead voice switch 874 of the upper keyboard is turned on. If it is turned on, it will sound with the voice of the lead voice,
In step S89, a sound channel for a lead voice of the upper keyboard is assigned, and the routine returns. If the lead voice switch of the upper keyboard is not turned on in step S88, the process returns.

Steps S83, S85, S87, and S89 are assignments in the normal mode, so that the same pitch (pitch) is assigned and generated.

If the mode is the flute coupler mode in step S81,
In step S90, a search is made for a pseudo channel that can be assigned using the most significant bits of UKCHFLG1 to UKCHFLG5. Then, step
In S91, the key code KC is transferred to the flag UKCHFLG, and the most significant bit MSB is set to “1”. Buffer UK in step S92
The level data of each byte data UKLV1 to UKLV8 of FCPLBUF is transferred to the output level OL of the carrier of the corresponding PCM sound source channel and the corresponding FM sound source channel.

Further, in step S93, the F (frequency) number is calculated from the key code KC and set in the work register FN. In step S94, the frequency information is transmitted from this F number FN to the channel of the sound source of each foot sound. The F number transmitted as frequency information is data having a relationship as described in FIG.

Then, in step S95, eight sound source channels corresponding to each foot sound from 16 feet to 1 foot are keyed on and the process returns.

Next, referring to FIG. 22, the UK key-off processing routine (FIG.
Step S74 in FIG. 20 will be described.

In the UK key-off processing routine, it is determined in a step S101 whether or not a flute coupler mode is set. Otherwise, the mode is the normal mode, so that a channel to be keyed off is searched (search for a channel sounding with the same key code KC) in step S102, and a corresponding channel is keyed off in step S103, and the process returns.

If it is the flute coupler mode in step S101,
Flag a pseudo channel to be keyed off in step S104
Search by UKCHFLG1-5 (check flags UKCHGFLG1-5, search for pseudo channel with MSB = 1 and same key code KC). In step S105, it is determined whether or not there is a pseudo channel to be keyed off. If there is, in step S106, all the two channels of the PCM sound source and the three channels of the FM sound source corresponding to the key off pseudo channel are keyed off and the process returns. If there is no pseudo channel to be keyed off in step S105, the process directly returns.

20 to 22, the UK processing routine for the upper keyboard has been described, but the LK processing routine for the lower keyboard (step S62)
The same processing applies to the PK processing routine for the pedal keyboard (step S63).

In the above embodiment, the example of the combination of the FM sound source and the PCM sound source is shown.
The channel configuration and the overtone configuration (such as the frequency ratio) are not limited to these, and may be variously changed. Further, fine adjustment (setting of an envelope generator or detuning) may be performed for each overtone (feet sound).

[Effects of the Invention] As described above, according to the tone generator of the present invention, a plurality of channels related to a specific frequency are assigned to one voice, so that the timbre variation increases and the pipe organ further increases. Simulation is possible.

[Brief description of the drawings]

FIG. 1 is a block diagram of an electronic musical instrument according to one embodiment of the present invention, FIG. 2 is a block diagram showing a basic structure of an operator of an FM sound source of the electronic musical instrument of this embodiment, and FIG. FIG. 4 is a block diagram showing a basic structure of a PCM sound source of the electronic musical instrument, and FIG. 5 is a block diagram showing a one-voice configuration of the electronic musical instrument in a normal mode. FIG. 6 is a block diagram showing a tone generator configuration example of the electronic musical instrument in the flute coupler mode. FIG. 7 is a conceptual diagram of channel assignment in the electronic musical instrument. FIG. 8 is a tone selection switch of the electronic musical instrument. FIG. 9 is an external view showing a screen display example of the electronic musical instrument in a normal mode. FIG. 10 is an external view showing a screen display example of the electronic musical instrument in a flute coupler mode. FIG. 12 is an external view showing a screen display example of the electronic musical instrument in a flute coupler edit mode. FIG. 12 is an external view showing a screen display example of the electronic musical instrument in a save mode. FIG. 13 is a ROM memory of the electronic musical instrument. Map, FIG. 14 is a memory map of the RAM of the electronic musical instrument, FIG. 15 is a flowchart of a main routine of the electronic musical instrument, FIG. 16 is a flowchart of a display / setting processing routine of the electronic musical instrument, FIG. Is a flowchart of a mode processing routine of the electronic musical instrument, FIG. 18 is a flowchart of a flute coupler setting processing routine of the electronic musical instrument, FIG. 19 is a flowchart of a tone assignment processing routine of the electronic musical instrument, and FIG. FIG. 21 is a flowchart of a UK processing routine of the electronic musical instrument. FIG. 21 is a flowchart of a UK key-on processing routine of the electronic musical instrument. , It is a flow chart of the UK key-off processing routine of the electronic musical instrument. 101… CPU, 102… ROM, 103… RAM, 105… Pedal keyboard, 106 …… Lower keyboard, 107 …… Upper keyboard, 109 …… Display / setting switch, 110 …… FM sound source, 111… PCM sound source.

──────────────────────────────────────────────────続 き Continued on the front page (58) Field surveyed (Int.Cl. ⁷ , DB name) G10H ^7/ 00-7/12 G10H 1/18

Claims (2)

(57) [Claims] 1. A musical tone information generating means for generating musical tone information including pitch information, a PCM sound source having a plurality of tone generating channels and synthesizing a tone signal by using a pulse code modulation method, and a tone generating device comprising a plurality of processing channels. A sound source means having a plurality of channels and synthesizing a tone signal using a frequency modulation method and capable of simultaneously generating a plurality of tone signals; mode selecting means for selecting the first and second modes; A tone assigning means for assigning tone information generated by the tone information generating means to a tone channel of the tone generator means in accordance with a mode selected by the mode selecting means, wherein a second mode is selected by the mode selecting means. (A) The same tone information is assigned to the sound channels of both the PCM sound source and the FM sound source. (C) the allocation of a plurality of tone channels to one tone information by increasing the number of sound channels assigned to the tone information as compared with the case where the first mode is selected by the mode selecting means; For the sound channels of the PCM sound source and the FM sound source, the frequency relationship between the tone signal generated from the PCM sound source and the plurality of tone signals generated from the FM sound source is a specific frequency relationship corresponding to the pitch information. And (D) a processing channel used to generate one tone signal without changing the number of processing channels included in one sounding channel among the plurality of sounding channels of the allocated FM sound source. The number of tone signals generated by one tone generation channel is reduced by reducing the number of tone signals generated when the first mode is selected by the mode selection means. The number of and larger than when the first mode is selected by said mode selecting means, (E) Further, FM assigned to said one musical tone information
The number of processing channels for each tone signal in a plurality of tone generation channels of a sound source is the same. 2. The sound generation assigning means for synthesizing a low-frequency component of the tone signal on a sound channel of the PCM sound source and synthesizing a high-frequency component of the tone signal on a sound channel of the FM sound source. The tone generator according to claim 1, wherein: